The Pied Piper of Hamelin: Adorno on Music Education
Identifieur interne : 000994 ( Main/Exploration ); précédent : 000993; suivant : 000995The Pied Piper of Hamelin: Adorno on Music Education
Auteurs : Alexandra Kertz-Welzel [Allemagne]Source :
- Research Studies in Music Education [ 1321-103X ] ; 2005-12.
English descriptors
- Teeft :
- Adorno, Better place, Callaway, Callaway centre, Centre, Contemporary music, Critical consciousness, Critique, Educational power, Erziehung, Frederic spotts, German music education, Gesammelte, Gesammelte schriften, Human beings, Ibid, Important role, Intellectual message, Jugendmusikbewegung, Main approach, Main goal, Main intent, Modern music, Music education, Music education number, Music educators, Music sociology, Musical amateur, Musikant, Musische, Musische erziehung, National socialism, Pedagogical music, Pied, Pied piper, Piper, Research studies, Rolf, Rolf tiedemann, Saarland university, Schriften, Suhrkamp, Theodor, Third reich, Tiedemann, Ultimate goal, Understanding music.
Abstract
Whilst the German philosopher Theodor W. Adorno (1903-1969) is widely known for his innovative ideas on music, aesthetics and sociology, he was also one of the most prominent critics of German music education before and after World War II. He argued against humanistic and idealistic philosophies of music education, which pursued a transformation of human beings through making music. For Adorno, music education should be focused on the music itself and the education of musically critical and self-determined students. The main intent of this article is an examination of Adorno's critique of music education, specifically in terms of the misuse of music education for ideological purposes. This article draws on examples of Adorno's work not yet translated into English, to question and challenge current practices of music education.
Url:
DOI: 10.1177/1321103X050250010301
Affiliations:
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Adorno (1903-1969) is widely known for his innovative ideas on music, aesthetics and sociology, he was also one of the most prominent critics of German music education before and after World War II. He argued against humanistic and idealistic philosophies of music education, which pursued a transformation of human beings through making music. For Adorno, music education should be focused on the music itself and the education of musically critical and self-determined students. The main intent of this article is an examination of Adorno's critique of music education, specifically in terms of the misuse of music education for ideological purposes. This article draws on examples of Adorno's work not yet translated into English, to question and challenge current practices of music education.</div></front></TEI><affiliations><list><country><li>Allemagne</li></country></list><tree><country name="Allemagne"><noRegion><name sortKey="Kertz Welzel, Alexandra" sort="Kertz Welzel, Alexandra" uniqKey="Kertz Welzel A" first="Alexandra" last="Kertz-Welzel">Alexandra Kertz-Welzel</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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